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Jade june art appreciation

  1. ART APPRECIATION (GE-6) Ms. Jade June L. Calibo
  2. THE STUDY OF HUMANITIES  Learning Outcomes: at the end of the lesson, the students should be able to:  Give the meaning of Humanities, art, art appreciation, and art history  Differentiate Art History from Art Appreciation  Discuss the Importance of Art in Contemporary Society Chapter 1
  3. HUMANITIES The term “humanities” originated from the Renaissance Latin expression studia humanitatis or study of humanitas which refers to “culture, refinement, education”.
  4. In the early 15th Century, the “studia humanitatis” became a secular study in the universities at the time. It primarily consisted of grammar, rhetoric, poetry, history, and moral philosophy, Latin and Greek classics. Humanities today include literature, language, philosophy, geography, history, religion, music and art. These uses methods that are primarily critical, speculative, and historical in elements. RENAISSANCE PERIOD Renaissance Period At Present
  5. MEANING AND IMPORTANCE OF ART Art is a subject under Humanities. Definitions of ART by various authors: Art is derived from the Latin word “ARS,” meaning ability or skill. –J.V. Estolas Art is taken from the the Italian word “ARTIS,” which means craftmanship, skill, mastery of form, inventiveness, and the associations that exists between form and ideas, material and technique. – A. Tan Art is that which brings life in harmony with the world. – Plato Art is a life that helps us to realize the truth. – Pablo Picasso Art is never finished, only abandoned. – Leonardo da Vinci Art is the realization in external form of true idea and is a traced back to that natural love of imitation which characterizes human. – Aristotle Art is not a handicraft, it is the transmission of feeling, the artists has experienced. – Leo Nikolaevich Tolstoy
  6. FOUR COMMON ESSENTIALS OF ART 1. Art is man-made, not God-made. 2. Art is creative, not imitative. 3. Art benefits and satisfies man – when he uses art in practical life through artistic principles, taste and skill. 4. Art is expressed through a certain medium or material by which the artist communicates himself to his fellows.
  7. ART APPRECIATION Art Appreciation is the ability to interpret and understand man-made arts and enjoy them through actual work experience with art tools and materials. Art Appreciation is the possession of the works of art for one’s admiration and satisfaction. Art Appreciation refers to the knowledge and understanding of the general and everlasting qualities that classify all great arts. Art Appreciation is the introduction and exploration of visual and performing art forms. Art Appreciation is the analysis of the form of an artwork to general audience to enhance their enjoyment and satisfaction of the works of art.
  8. APPRECIATION OF ARTS DEPENDS ON PERSONAL PREFERENCE: 1.The Aesthetics and Form of Art; 2.Elements and Principles of Design; 3.Social and Cultural Acceptance. Thus, appreciation of art can be subjective.
  9. ART HISTORY Art history refers to the historical development and stylistic context of the objects of arts that includes the major and minor arts o As a term, art history or history of art encompasses the different methods studying visual art. o As a discipline, art history is not similar to art criticism. Art criticism determines the relative artistic values of an individual work in comparison with others of comparable style. Questions to answer as the key features of the art style: 1. What does the art convey? 2. How does it functions visually? 3. How the artists meet their goal as well as the symbols that were involved?
  10. If the artist copy or imitate an object or image found in nature. Artist creates an art in a realistic manner rely on symbolism or striving to capture nature’s essence. REPRESENTATIONAL NON-REPRESENTATIONAL IMPRESSIONISM EXPRESSIONISM As an example of representation style is produced when the artwork was not directly imitative but an impression of nature. The work of art is not representational but the expression of the artist’s feelings, longings, aspirations, and ideals of beauty and form.
  11. PURPOSE OF ART HISTORY • To place art in a social and historical context • It has more advantage over art appreciation when evaluating works of art. The more information an evaluation has on the works of art, the better an evaluation he can make over the works of art. • When a person has more context when looking at something such as a piece of art work, he could better understand more the story behind that particular piece of an artwork, • To see how things like war, religion, politics, technological change have effect not only on the artist but on the artwork that was produced.
  12. ACTIVITY #1 Draw an expressionism and explain.
  13. ASSUMPTIONS OF ART  Learning Outcomes: at the end of the lesson, the students should be able to:  Clarify misconceptions about art  Differentiate art from nature  Categorize works of art by citing personal experiences  Characterize the assumptions of the arts Chapter 2
  15. Art has been created by all people of the world at all times; it has lived because it is liked and enjoyed. The elements and forms of art apply to all arts everywhere. Art contributes to the understanding of past and present cultures. People can learn about their culture’s values and strengthen their culture’s identity. ART IS UNIVERSAL ART IS CULTURAL
  16. Art is not nature because it is man-made. Art is man’s interpretation of what he perceives as art. Art is a form of expression of the deepest emotion of the minds. ART IS NOT NATURE ART IS AN EXPRESSION OF THE MIND
  17. Art is a product of the imagination that entertains, pleases and inspire people. The various artworks of artists reflect the artist’s power of creativity. Fulfillment and consummation of an act conclude the experience. The expression of the artists are shown in the way their feelings towards their artwork. ART IS A FOR OF CREATIVITY ART INVOLVES EXPERIENCE
  18. ACTIVITY #2 In one of your encounters with art through museum visits, musicals, and plays among others, have you ever felt disconnected from an artwork? Was there a point in time when you did not understand what message the art was trying to convey? Explain why.
  19. FUNCTIONS AND PHILOSOPHY OF ART  Learning Outcomes: at the end of the lesson, the students should be able to:  Describe the Functions and Philosophy of Art  Clarify misconceptions of art Chapter 3
  20. FUNCTIONS OF ART AESTHETIC FUNCTION – Through art, man becomes conscious of the beauty of nature. UTILITARIAN FUNCTION – Through art, man is provided with shelter, clothing, food, light, medicine, beautiful surroundings, and other necessities and convenience of life. Art does not only enrich man’s life. CULTURAL FUNCTION – Through the printed matter, art transmits and preserves skills and knowledge from one generation to another.
  21. FUNCTIONS OF ART SOCIAL FUNCTION – Through civic and graphic arts, man learns to love and help each other. POLITICAL FUNCTION – Art reinforces and enhance a sense of identity and ideological connection to specific political views, political parties and politicians. EDUCATIONAL FUNCTION – There are art symbols and signs to illustrate knowledge and attitudes that are not expressed in words. SPIRITUAL FUNCTION – These artworks may have religious significance.
  22. PHILOSOPHY OF ART Philosophy of Art refers to the study of the nature of arts, its concept, interpretation, representation, expression and form.
  23. FIVE (5) PHILOSOPHICAL PERSPECTIVES OF ART 1. Art as Mimesis – the word mimesis is a Greek word which means “imitation” or “copying”, although it may also mean representation. 2. Art as Representation (Aristotle) – art represents something. When an artist uses signs and symbols to take the place of something else, he is using art as a representation of such signs and symbols. 3. Art for Art’s Sake (Kant) – artists associated with aestheticism believes that art needs justification. Art does not serve political didactic or other hand.
  24. FIVE (5) PHILOSOPHICAL PERSPECTIVES OF ART 4. Art as an Escape – artists have to get rid of this anxiety and pressure because if we keep these worries and anxieties within our mind, they will come out in the form of anger and in hatred. Unfortunately, such anger and hatred are often taken out on the wrong people. 5. Art as Functional – the artist intent in creating a functional piece of art is to bring creativity, beauty and usefulness into people’s everyday lives.
  25. ACTIVITY #3 Collect pictures from magazines, newspapers, or journals. Describe by selecting any two (2) of the functions of art. Draw an image that represents the art functions you have selected.
  26. SUBJECT OF ART  Learning Outcomes: at the end of the lesson, the students should be able to:  Differentiate content from subject  Classify artworks according to subjects  Analyze how artists present their subject in relation to the real subject  Characterize sources and kinds of art Chapter 4
  27. SUBJECT OF ART In any form of art there is always a subject that serves as the foundation of the creation of the work of art. A subject of art is usually anything that is represented in the artwork. It is varied – it may be a person, object, scene, or event.
  28. SOURCES OF SUBJECTS  Subjects of art may be found in primary sources such as: InterviewsArtwork autobiographies Film of the artist Christian Tradition Diaries Speeches letters Photographs Sacred oriental text Nature Mythology others Documents
  29. WHERE TO FIND THE PRIMARY SOURCES Archives Catalogues Exhibits Notebooks Sketchbooks Art Galleries Art Museums Art and Cultural Centers
  30. Painting, sculpture, graphic arts, literature, and theatre arts are generally classified as representational arts, although some paintings and sculptures are without subjects. There are artworks that have no resemblance to any real subjects. They do not represent anything and they are what they are. TYPES OF SUBJECTS Representational or Objective Arts Non-Representational or Non- Objective Arts
  31. CONTENT IN ART Content in Art refers to the meaning or significance, and/or feeling imparted by a work of art. This is not the same thing as the subject matter the work depicts. It is inextricably linked with form, FORM refers to the pictorial aspects of art. Content in Art may be classified as factual, conventional, and subjective.
  32. ACTIVITY #4 Bring painted copies of contemporary artworks to be presented orally in class. And identify and discuss the subject, source, type, and kind of the artworks presented.
  33. MEDIUMS IN VARIOUS FORMS OF ART  Learning Outcomes: at the end of the lesson, the students should be able to:  Identify the medium in various forms of art  Define an artist’s or artisan’s medium and techniques  Define the role of managers, curators, buyers, collectors, art dealers in the art world  Differentiate between artists and artisans work as an end in itself and the artist’s work is a means to an end Chapter 5
  34. MEDIUMS OF VISUAL ARTS Medium which comes from the Latin word medium means by which an artist communicates his idea. These are the materials which are used by an artist to interpret his feelings or thoughts. May mediums have been used in creating different works of art.
  35. VISUAL ARTS Visual Arts are those mediums that can be seen and which occupy space. Visual Arts are those arts that can be perceived with our eyes. Most common visual arts: Painting Sculpture Architecture
  36. Painting Drawing Printmaking Photography Sculpture Architechture Landscape Community Planning Industrial Designs Crafts TWO (2) CLASSES OF VISUAL ARTS Dimensional or Two- Dimensional Arts Three-Dimensional Arts
  37. SOME TECHNIQUES OF VISUAL ARTS Blowing Etching Printing Transfer Design Tinkering, Splattering Throwing Coloring Flowing Cutting Scratched Etch Stencil Process Relief Painting
  38. It is one of the oldest and perhaps the most permanent building materials. It used in most of the great architectures of the world. • Limestone • Granite • Marble • Sandtone Wood is not a permanent material but with proper care, it can last for a century. It is the common building material in the 90’s. It owes its popularity to its abundance, relative durability, and high tensile and compression strength. MATERIALS IN NATURE STONE WOOD
  39. MEDIUMS OF AUDITORY ARTS Auditory Arts are those whose mediums can be heard and which are expressed in time. • Motion Pictures, Film, or Movies • Theathre • Television or TV
  40. SOME TECHNIQUES OF AUDITORY ARTS Sound as in music Speech Signaling with Instruments
  41. MEDIUMS OF COMBINED ARTS (MIXED MEDIA)  Doing a charcoal sketch before painting  Doing a pencil sketch before painting  Combining watercolor with pastel in landscape painting
  42. SOME TECHNIQUES OF COMBINED ARTS Items attached to painting might include:  Photographic images  Clothing  Newspaper Clippings
  43. ARTISTS are the creators of tangible or intangible products as an expression of creativity and imagination for purely aesthetic reasons. ARTISANS (craftsman) are the makers of products or crafts, not only for aesthetic value of for decorative purposes but for practical value, such as for business purposes. ARTISTS ARTISANS
  44. ART MANAGEMENT Art Management (Art Administration) is the process of running the daily business operation of art institutions either private or public in nature.
  45. ART PRODUCTION PROCESS Art is concerned with the actual doing and how actions can be achieved seeing the art as pure human expression. Art production often entails an inherent motivation, rationale and intentionality.
  47. PRE-PRODUCTION Is the process of fixing some of the elements in art (such as film, play or other performance).
  48. NINE(9) STAGES IN MOVIE PRODUCTION 1. Finalize a Shooting Script 2. Storyboards and Shot Lists 3. Find the Right Crew 4. Location Scouting 5. Create a Proper Budget 6. Choose Your Gear 7. Clear That Red Tape 8. Finding the Right Cast 9. Rehearse
  49. PRODUCTION Is the process of combining various materials inputs and non-material inputs to be able to make something for consumption (the output). It is the act of creating output such as good or service which has value that contributes to utility of individuals. Economic Well-Being is important in this aspect if it directly or indirectly satisfy human needs and wants.
  50. POST-PRODUCTION This is the process of filmmaking, video production, and photography. The selection of an expert editor is the one who will go through all the scripts and the scenes of the movie and decide which shots will be used to create a flow of the story correctly.
  51. TECHNIQUE APPROACHES IN VISUAL ARTS, AUDITORY ARTS, AND COMBINED ARTS 1. Paint an object from your home or office 2. Perfectly frame an architectural photograph 3. Design a whimsical collage 4. Craft a metal sculpture from thin steel 5. Make a fabric masterpiece 6. Turn your camera on the clouds 7. Turn your journal into a visual diary 8. Fingerpaint 9. Doodle like a Traditional Animator
  52. NEW TRENDS IN ART ADVERTISING A TREND is a change or development towards something new or novel. Six (6) Big Visual Trends for 2017 by Tom May 1. Unfiltered Imagery 2. New Naivety Trend 3. Virtuality Trend 4. Color Surge 5. Gritty Woman Trend 6. Global Neighborhood Trend
  53. NEW TRENDS IN ART FORMS The development of new art form has led to new trends in arts, especially in the visual arts. As a consequence of technological advancements, art forms have broadened tremendously taking art beyond the frame of canvas and paper. Artists too began experimenting and stretching their limits of creativity. The present digital technology has brought the buyer and seller virtually face to face. The contemporary art is being revolutionized and being “re-defined”
  54. NEW TRENDS IN PERFORMING ARTS Performing art tend appears to be on the rise. Live performance continues to grow elsewhere, Broadway plays and live opera performances are rising. Even the demand for new trends of commercial recordings in televisions and radios are stronger now than ever.
  55. ACTIVITY #5 DIRECTION: Draw, post cut out pictures, image, or photo of the ff. items. Then describe each of them. 1. Paint an Object at Home 2. Frame Photograph 3. Whimsical Collage 4. Metal Structure for a Thin Steel 5. Fingerpaint
  56. THE ELEMENTS OF ART  Learning Outcomes: at the end of the lesson, the students should be able to:  Analyze the various elements present in visual, auditory, and combined arts.  Determine dominant elements used in hybrid or modified art expressions.  Determine the factors influencing artists such as distortion, transformation, appropriation in an experimental or hybrid art expression. Chapter 6
  57. ELEMENTS IN VISUAL ARTS Line Color Color Harmonies Texture Perspective Space Form
  58. LINE Line is an important at the disposal of every artist. Through the lines, as in painting or sculpture, the artist represents figures and forms. • Horizontal Lines - are lines of repose and serenity. They express ideas of calmness and quiescence. • Vertical Lines – are lines that denote action. They suggest poise, balance, force, aspiration, exaltation, and dynamism. • Diagonal Lines – suggest action, life, and movement. They give animation to any composition in which they appear. • Curved Lines – suggest grace, subtleness, direction, instability movement, flexibility, joyousness, and grace. • Crooked or Jagged Lines – express energy, violence, conflict, and struggle. Lines may also be classified into three (3) groups: line which follow or repeat one another, lines which contrast with one another, and transitional lines which modify or soften the effect of others.
  59. COLOR Color has the most aesthetic appeal among the elements of visual arts. Delight in color is a universal human characteristic. Color is a property of light. When light goes out, color goes with it. Three Dimensions of Color: • Hue – is the dimension of color that gives color its name. When we say, the flower is yellow, we’re naming its hue. • Value – sometimes called CHIAROSCURO, refers to the lightness or darkness of a color. It is a quality which depends on the amount of light and dark in color. They give the expression of depth and solidity and lend form to paintings. TINTS – are value above the normal. SHADES – are values below the normal. Pink is a tint of red, maroon is a shade of red. Sky Blue is a tint, navy blue is a shade. • Intensity – refers to its brightness or darkness. It gives color strength.
  60. COLOR HARMONIES Related Color Harmonies – may either be monochromatic or adjacent. Monochromatic harmony is made up of several tones of one hue, like for instance orange, tan, brown, and other tones from the orange family. Contrasted Color Harmonies – colors which lie directly opposite to each other in the color circle are called complementary colors.
  61. TEXTURE Texture is an element that deals more directly with the sense of touch. It has to do with the characteristics of surfaces which can be rough or smooth, fine, or coarse, shiny or dull, plain or irregular. It is best appreciated when an object is felt with the hands. Texture is found in all the visual arts. A painting, a building, or a piece of sculpture have textures which can be felt and described in a variety of ways. Texture is due primarily to differences in medium.
  62. PERSPECTIVE Perspective deals with the effect of distance upon the appearance of objects, by means of which the eye judges spatial relationships. It enables us to perceive distance and to see the position of objects in space. Linear Perspective – is the representation of an appearance of distance by means of converging lines. The tracks of railroad appear to the viewer as seeming to rise and meet in the distance. It involves the direction of lines and the size of objects.
  63. SPACE In painting, as in architecture, space is for great importance. The exterior of a building is seen as it appears in space, while interior is seen by one who is inside an enclosure. Painting does not deal with space directly. It represents space only on a two-dimensional surface. Sculpture involves very little space relationship or perception of space.
  64. FORM Form applies to the overall design of work of art. It describes the structure or a shape of an object. Form directs the movements of the eyes. Since form consists of size and volume, it signifies visual weight. Every kind of form has its own aesthetic effect. Sculpture and architecture deal with three- dimensional forms. Sculpture, however, deals with exterior form alone because one cannot get inside a statue.
  65. TRANSCREATION (CREATIVE TRANSLATION) This is the process of adapting a message from one language to another while maintaining its intent, style, tone, and context. A message that was successfully transcreated evokes the same emotions and carries the same implications in the target languages as it does in the source language.
  66. PURPOSE OF TRANSCREATION Purpose of transcreation is to transfer the intent, style, vocal tone, and emotional salience of the message from the source language to that of the targeted audience. To so this process, it requires expertise in marketing, linguistic skills and knowledge of targeted cultures. Thus, to produce effective transcreation, local language copy writers need to have extensive knowledge of their market.
  67. TRANSCREATION AND TRANSLATION In TRANSLATION, a word for word translation is inadequate. The best translation takes into account the vocabulary, grammar, syntax, idiom and local ways of the target audience while remaining faithful to the text as well as to the context of the original document. On the other hand, TRANSCREATION expands the TRANSLATION by focusing not so much as the literal text but on discerning the emotional response by viewers in the target market.
  68. TRANSCREATION OF TEXT TO MUSIC In novel or poetry, one can generate music with general feeling.
  69. TRANSCREATION PF TEXT TO DANCE Its using a dialogue or text to influence and enhance dance performance. According to Karin Barber, when words are uttered, it captures a prominent instance in the performance. She further said that, “the text is permanent artifact, handwritten or printed, while the performance is the unique, never-to-be- repeated realization of the text, a realization that ‘brings the text to life’ but which is itself doomed to die on the breach in which it is uttered.”
  70. TRANSCREATION TO DANCE TO VISUAL ART The great majority of the evidence for dance occurred in Ancient Greek which come from visual art. Sculptures and paintings on pots represented dancers. Relief sculpture in tombs included scenes of dancers. The canon for artistic representation was in place because the deceased and his or her family needed to be depicted in a very specific way in order to activate the magic that transported them to the next world.
  71. ACTIVITY #6 Draw anything you want as long as the elements of visual arts are present.
  72. VARIOUS PLANES IN ART  Learning Outcomes: at the end of the lesson, the students should be able to:  Identify various planes in art  Categorize and organize information from different sources Chapter 7
  73. READING THE IMAGE OF THE VISUAL WORK In understanding the art, one must be able to read the visual work as a text that conveys a complex of concepts, feelings, attitudes, moods, atmosphere and value that derives from world views and ideologies, public or personal. Therefore, in reading an image of a visual work, it is important for us to familiarize ourselves with the various art medium and techniques as well as processes involved in art- making because these enter into the meaning of the work.
  74. BASIC DOCUMENTARY INFORMATION BY ALICE G. GUILLERMO 1. Title of the artwork 2. Name of artists 3. Medium and technique 4. Dimensions of measurement 5. Date of work 6. Provenance
  75. 1. TITLE OF THE WORK The title may or may not contribute to the work meaning or identifies the subject, or bears an ironic relationships to the work, or a witty comment about the work or its subject
  76. 2. NAME OF ARTISTS The following information must be supplied in addition to their names: Generation the artist belongs Dominant artistic trends during their active years Name of their peers Personal background and training Record, diaries, and published statements which may shed light on their art
  77. 3. MEDIUM AND TECHNIQUE The following documentaries are needed in identifying medium and techniques: • Determine whether the medium is academic or non- academic, artistic choice as in mixed or multimedia • Keen awareness of the work of art in terms of artistic process involving particular mediums and techniques • Identify the particular kind of materials used • Note to be added regarding the ground of a painting
  78. 4. DIMENSIONS OF MEASUREMENT The dimensions may be measured by metric system. The measurements may be big, large-scale, mural size, average, small or miniature. The usual format of a painting is rectangular. However, symbolism may come into play such as square or circular format.
  79. 5. DATE OF WORK The date of work which was completed provides the historical context of the work. It also provides information as to what period of the artist development of the work belongs, and finally, the date of the work situates in art history, that it tells whether the artwork belongs to a particular trend, school, or movement.
  80. 6. PROVENANCE This is indicated by the name of the owner of the artwork, of the collector of the work, or whether it belongs to an art museum, art gallery, or a private collection.
  81. THREE LEVELS OF CONTENT IN ART 1. SEMIOTIC PLANE – this includes the elements and general, technical, and physical aspects of the work. The mere presence of the material is already an evidence of its significance. 2. ICONIC PLANE – this includes the choice of the subject which may bear socio-political implications. The term icon refers to a simple image with a unique meaning. The semiotic level mainly fits with representational or figurative art whereas the semiotic plane deals more with abstract art. 3. THEMATIC PLANE – art is viewed in relation to its time, the ideologies and concerns of that period. The theme is derived from the significant circumstances of the artist and therefore a good analysis within this plane demands that the viewer knows the artist’s background.
  82. APPRECIATING WESTERN ART Western art is sometimes referred to as art of Europe or European art because it encompasses the history or visual art in Europe. 1. Prehistoric Period (Paleolithic and Icon Age) - mobile rock and cave painting 2. Ancient Middle Period (3rd Millennium BC) - carvings, decorated artifacts and huge standing stones 3. Before 1800 (Christian Church Influence) - renewed interest in heroes and heroines, mythological tales of gods and goddesses, great wars and bizarre creatures which were not connected to religion. 4. After 1800 (Art is Influenced by Politics) - art was influenced by secularism. Art was produced without reference to religion and ideology. Art was often been influenced by politics, of the state, of the patron of the artist.
  83. APPRECIATION OF EASTERN ART Eastern Art is also referred to as Asian Art. Historically, development in Asian art parallel those in Western and in general, a few centuries earlier. A vast range of influence from the various cultures and religion constitute the Eastern art. These include the Chinese art, Korean art, Japanese art. The art of Mesopotamia is considered as the oldest form of Asian art.
  84. ACTIVITY #7  Class Assignment by group. • Each group should provide the following : • GROUP 1 – Dominant elements of visual arts, films, literature, and dance. • GROUP 2 – Dominant elements of architecture, music, and sculpture. • GROUP 3 – Transcreation of analog drawing, room design, visual tapestry, coffee art, illustration. • GROUP 4 – Transcreation of scribbling prose, creative writing abd poem writing, performance art.
  85. VARIOUS GENRES IN MUSIC  Learning Outcomes: at the end of the lesson, the students should be able to:  Identify various genres of music.  Makes a creative interpretation of the different musical genre.  Translate sound or music into a new form and a new content. Chapter 8
  86. LIST OF MUSIC GENRES 1. ALTERNATIVE MUSIC – rock music (college, hard, indie, progressive), the punk (art, folk, hardcore) 2. ANIME 3. BLUES – acoustic blues, Chicago blues, contemporary blues delta blues, and electric blues 4. CHILDREN’S MUSIC – lullabies, sing-along and stories 5. CLASSICAL MUSIC – avant-garde, baroque, renaissance, romantic, wedding music, chant choral, chamber music, high classical, minimalism 6. COMMERCIAL MUSIC – jingles and the TV themes 7. COUNTRY MUSIC – alternative country bluegrass, contemporary country, honky-tonk, country pop, traditional country, and urban cowboy
  87. 8. ELECTRONIC MUSIC – electronic rock, drum and bass, downtempo, ambient, bitpop, and chiptune. 9. HIP-HOP/RAP – alternative rap, bounce, dirty south, east coast rap, hardcore rap, hip- hop, Latin rap, gangster rap, underground rap 10. HOLIDAY MUSIC – Christmas Classic, Halloween, Christmas Rock, Christmas Jazz, Christmas Pop, Christmas Carol, Christmas Classical. 11. INDIE POP 12. CHRISTIAN AND GOSPEL MUSIC – Christian metal, Christian pop-rock-rap, Gospel songs, Praise and Worship, Traditional Gospel 13. JAZZ MUSIC – avant-garde jazz, bebop, big band, cool, crossover jazz, dixieland fusion, ragtime, smooth jazz 14. LATIN JAZZ – bossa nova, Brazilian Cumbia, Latin Jazz, Pop Latino, Flamenco 15. ROCK MUSIC – southern rock, death metal, bluesrock, jam bands, psychedelic 16. NEW AGE MUSIC- environmental music, healing, meditation, nature, relaxation 17. INSTRUMENTAL MUSIC – cantata, oratorio, suites, keyboard instrumentals
  88. THE CANTATA This music is an unstaged sacred of secular narrative sung with instrumental accompaniment developed during the Baroque era. A CANTANA contains arias, narrative, and choruses. It is generally based on sacred theme and are intended for liturgical use. • The Oratorio - This is a musical composition based on the bible or sacred text for soloist, choir, and orchestra. It is usually staged in a church or theatre without any scenery or movement or elaborate costumes.
  89. THE CONCERTO GROSSO This is an important form of instrumental music during the Baroque period. It is composed of two groups of instruments contrasted against each other. • CONCERTINO – the smaller group or soloist • TUTTI or RIPIENO – the bigger group or field ensemble and which is composed eight to twenty musicians. TUTTI are usually string instruments and a harpsichord for the basso.
  90. THE SUITES This is composed of four dancers which did not contain thenatic materials, tempo and character, are best reunited only by being in the same key. KEYBOARD INSTRUMENTS: Organ – it is composed of a part of a tubes connected to a wind supply that is sounded by playing the keys. Two kinds of organs, FLUTE PIPES (sounded like a whistle-flute) and REED PIPES (has piece of metal inside the mouthpiece that produces vibrations). Harpsichord – is used during the Baroque period. There are three instruments in the harpsichord family: original, spirit, and harpsichord. In France, harpsichord is called, “CLAVERIA”, “CEMBALO” in Germany, “CLAVICEMBALO” in Italy. It is similar to a grand piano.
  91. THE LUTE This is a fretted guitar instrument with a pear- shaped body and between 7 and 11 strings which was widely used as a solo instrument for accompaniment playing chords.
  92. THE BAROQUE MUSIC Baroque music period is a style of Western art music that spanned by the year 1600-1750. this period flourished under the leadership of Louis XIV of France. This was the time of great philosophers and writers like Descartes, Voltaire, and Locke. Baroque music forms a major portion of the classical music canon, being nowadays widely studied performed and listened to. Baroque period saw the creation of tonality, an approach to writing the music in which a song or piece is written in a particular key; this kind of arrangement has continued to be used in almost Western popular music. The term “baroque” comes from the Portuguese word barroco, meaning “misshapen pearl”.
  93. THE CLASSICAL MUSIC This is an art music rooted in the tradition of Western music. It includes both liturgical (religion) and secular music. The classic period is generally characterized by an emphasis in form rather then content. In music, it is characterized by composition which are simple and have balance and order. During this period, different forms of music like instrumental forms, sonata, concerto, and symphony were developed. Composers are composed music objectively, followed a form one of which was the sonata – allegro form found at the beginning of each instrument composition.
  94. ROMANTIC MUSIC Romantic music is a period of Western classical music that started late in the 18th century or early 19th century. Romantic music in particular dominated the romantic movement in Germany. Musicians during this time had the chance to express themselves freely. Music become an international language because it was easily understood and expressed. Romantic music was characterized by interest in stories, folklore, mythology, and supernatural stories. Moods were experienced according to the temperament, primarily, and personal convictions of the composer.
  95. MODERN MUSIC Modern music is the music of the 20th and 21st centuries, new musical styles have been developed such a popular or pop music, rock, jazz, folk, alternative country, and western music. New music is being introduce by modern composers. With the emergence of new technology, they were forced to consider experimental ways in framing their musical ideas. Electronic music, chance music, minimalist music are the “in” thing.
  96. ACTIVITY #8 Form 5 groups with respective leaders. Interpret music through their own art expression. G1 – Classical Music G2 – Hip-Hop Dance G3 – Jazz Music G4 – Rock Music G5 – Latin Jazz
  97. CONCEPT OF SOULMAKING  Learning Outcomes: at the end of the lesson, the students should be able to:  Identify the medium in various forms of art  Define an artist’s or artisan’s medium and techniques  Define the role of managers, curators, buyers, collectors, art dealers in the art world  Differentiate between artists and artisans work as an end in itself and the artist’s work is a means to an end Chapter 9
  98. WHAT IS SOULMAKING? Soulmaking is connecting to our deepest nature, communicating deeply with the inner real, being fully awake and aware by flooding our consciousness with eternal images. Soulmaking is about drawing out a certain experience the person and transfer this into an image either in a form of painting or a musical composition or a production.
  99. CRAFTING IMAGES o Let us craft the images inside a Lightroom in many ways. Since soulmaking is a creative technique in art making, you can get better results from it – it is not realism (adapted from a post in the internet). o Start out with an image that has “good bones”. It needs to be pleasingly composed and it needs to have something that compel you to want to look at it and to spend some time working with it. o Good contenders for this process are images with interesting skills and these include heavy cloud captured at sunset and sunrise.
  100. CRAFTING STORIES Stories are masterfully crafted pieces of art authors pull from the depths of their imaginations. While they are not required to publish them for anyone else's eyes to see, publishing them does push their work out for specific people to read.
  101. SEVEN (7) STEPS TO CRAFTING STORIES 1. Craft your Premise 2. Roughly Sketch Scene Ideas 3. Interview your Characters 4. Explore your Settings 5. Write your Complete Outline 6. Condense Your Outline 7. Put your Outline into Action
  102. THE PURPOSE OF RECYCLED ART The purpose of recycled art is this: to encourage the reuse of a variety of materials in new, different and creative forms, and to promote recycling and resource conservation. In this contemporary world, a free, unstructured child directed play is gradually vanishing. Many educators and psychologists believe that is crucial to children’s intellectual and emotional development.
  103. 9 WAYS TO ENCOURAGE IMAGINATIVE PLAY 1. Eliminate one after-school activity a week 2. Schedule in free play 3. Provide our children with open-ended toys 4. Concede a little chaos 5. Show them how it’s done 6. Seriously limit screen time 7. Get them out 8. Don’t be afraid 9. Talk to other parents
  104. BENEFITS OF LEARNING IN NATURAL ENVIRONMENT  Learning in a natural environment offers direct benefits as diverse as educational, health, and psychological. Its indirect benefits range from social to financial.  Yet, despite the good benefits that natural environment learning give to many children, many of them are losing their connection with nature.  Nowadays, about 10% of children play in the natural environment compared to 40% of adults when they were young.  This extinction of natural and vicarious experience has a detrimental long-term impact on environmental attitude and behavior.  Therefore, a cultural shift is required both at home and at school, before the situation worsen or can be reversed.
  105. LEONARDO DA VINCI Leonardo da Vinci (1452-1519) • Da Vinci was a prolific painter, sculptor, architect, musician, scientist, mathematician, engineer, inventor, anatomist, geologist, cartographer, botanist, and writer. • He was considered the most diversely talented person. Many of his concepts would become inventions centuries later.
  106. SEVEN (7) LEONARDO DA VINCI PRINCIPLES  CURIOSITA – an insatiable curious approach to life and an unrelenting quest for continuous learning.  DIMONSTRAZIONE – a commitment to test knowledge through experience, persistence, and a willingness to learn from past mistake.  SENSAZIONE – continual refinement of the senses as the means to enliven experience.  SFUMATO – the literal translation for this term is going up in smoke. It is about our willingness to embrace ambiguity, paradox, and uncertainty.  ARTE/SCIENZA – developing a balance between logic and imagination.  CORPORALITA – this is about maintaining a healthy body as well as a healthy mind.  CONNESSIONE – this is the simple recognition of the interconnectedness of all things and phenomena.
  107. ACTIVITY #9  List the ways on how to encourage creative play and learning in the natural environments. Draw a schematic diagram on how these are to be performed. A. How to encourage creative play in the natural environment? B. How to encourage effective learning in the natural environment?
  108. TRADITIONAL ARTS IN THE PHILIPPINES  Learning Outcomes: at the end of the lesson, the students should be able to:  Discuss the concept of soulmaking  Develop students’ artistic potential through soulmaking  Enhance students’ sensitivity and awareness toward their environment  Extend to the immediate community the students’ artworks as a form of service learning Chapter 10
  109. ARTS IN THE PHILIPPINES Arts in the Philippines refers to the art works that have developed and accumulated in the Philippines from the beginning of civilization in the country up to the present. Arts in the Philippines are classified into traditional arts, arts in Muslim Mindanao or the Islamic Arts and arts in the Cordillera region. These arts reflect the societies wide range of cultural influence in the country’s culture and how they honed the country’s arts.
  110. TRADITIONAL MOTIFS Traditional Motifs are used by folklorist in analyzing, interpreting, and describing the traditional elements found in the lore of a particular folk groups and compose the folklore of the various regions and cultures of the world based on the motif patterns. The meaning in cultural anthropology encompasses the use of motifs in the areas of music, literacy criticism, visual arts, and textile arts that create recognizable patterns in folk- art traditions.
  111. TRADITIONAL CRAFTS A tradition craft should meet the following requirements: 1. Used mainly in everyday life 2. Manufactured by hand 3. Manufactured by using a traditional technique or skill 4. Made traditional materials 5. Manufactured in a certain area with a certain number of manufacturers
  112. TRADITIONAL CRAFTS  HANDICRAFTS – is the main sector of traditional crafts. These are types of work where useful and decorative devices are made completely by hand or by using simple tools. These traditional crafts have cultural and/or religious significance.  WEAVING – is another form of traditional crafts. Materials used in weaving consist of wool, mohair, cotton, bristles, and silk. It can be done with all kinds of cloth.  EMBROIDERY – it is not only used for decoration but also as a means of comunication tool with the symbolism in its designs. Today, the tools in embroidery are crochet needle, needle, shuttle and hairpin designed either as a border or motif and goes by different names according to the implement used as well as the technique.
  113. TRADITIONAL CRAFTS  Woodcarving – has been existing long time ago, the most common products are tables, sala sets, cabinets, doors, cupboard corners, and others. These crafts were greatly simplified and applied mostly to objects in daily use such as tripods, wooden stands, writing sets, drawers, chests, spoons for decorations, rowing boats, reading desks, etc.  Making Musical Instruments – is a traditional craft that existed for many long years. The materials used for making musical instruments came from trees, plants skin, bones, and animal horn. Musical Instruments are classified into string, percussion, and woodwind.  Glazed Earthenware Tiles – are used for ceramic and art purposes. Artists usually create animal designs in these tiles.
  114. TRADITIONAL CRAFTS  GLASSWORK –is another traditional art form. Stained glass was developed many years ago. Church windows are made of stained glass in different models and forms.  STONEWORK – as a traditional craft plays an important role in exterior and interior decoration in traditional architecture. Stonework techniques include carving, relief, and statue.  BASKET WEAVING – is also as traditional craft that started a thousand years ago. It is carried out by weaving reed, willow, and nut branches, bamboo trunks, rattan and other materials. It is used for home decoration in addition to the original purpose of helping to carry things.
  115. ACTIVITY #10  Class Project • Divide the class into four groups. Each group will bring the real object or materials for display. If some of them are not actually available, they can be drawn or cut out from existing magazines/journals. These will be place/exhibited in front of the class and to be reported/discussed. • Bring the following: • GROUP 1 – Traditional Motifs • GROUP 2 – Traditional Crafts • GROUP 3 – Decorative Symbols • GROUP 4 – Textile Art Samples
  116. THE INDIGENOUS ARTS  Learning Outcomes: at the end of the lesson, the students should be able to:  Identify the art form that comprise the indigenous arts in the Philippines  Appreciate better the various arts in their traditional form Chapter 11
  117. INDIGENOUS ARTS: WHAT ARE THEY? Indigenous arts are those native arts that have grown naturally through the years in a certain locality. Indigenous arts include the Torogan of Muslim Mindanao, bahay-kubo, bahay bale, bahay na bato, and other indigenous house. Traditional arts and crafts are not indigenous arts per se since these arts did not naturally existed in the particular area from immemorial.
  118. INDIGENOUS MATERIALS 1. SAWALI – this material comes from the outer covering of bamboo poles it is woven into mats and ideal for cement backing. 2. COCO COIR – this by-product of coconut is used to minimize the use of cement and as a sandwhich panels for insulation. 3. BAGASSE – this is sugar can waste used for insulation or cement backing. 4. ABACA – this is a fiber material obtained from the leaf stalk of banana plant. 5. BAMBOO – this indigenous material has low degree of elasticity, low-concrete adhesion, but wide variable moisture content. 6. PALM FROND STEMS – this mateial is often used for non-structural panels, walls, screens, bases of house. 7. MUD BRICKS – this material is brittle, has less strength, and cannot stand up well to tension.
  119. BAHAY-KUBO Bahay kubo is a cultural icon, a cultural heritage, and as a symbol of togetherness. Its Filipino translation is “NIPA HUT”. The typical Nipa Hut has no partition for rooms so as to accommodate the entire family. The inside area is the space for dining, sleeping, and lviing area in one. This typical hut symbolizes the typical Filipino family as a closed knit family.
  120. BAHAY NA BATO  In Filipino language, it is literally known as “house of stone” or better still “stone house.” This is the type of dwelling unit that existed during the Spanish time in the Philippines. This type of house is considered as an updated version of the traditional bahay kubo.  The common architectural appearance of the bahay na bato isthat of an “elevated overhanging wooden upper story, nipa hut (with balustrades, ventanillas, and capiz shell sliding windows) that stands on Spanish style solid stone blocks or bricks and posts as foundation instead of junk wood, bamboo stilts, or timber posts”.  This type of indigenous house uses a Chinese tiled roof or sometimes nipa or cogon roof but today this roofing are being replaced by styled galvanized irons.  Just like the bahay kubo, the bahay na bato has an open ventilation, elevated from thje ground and the inside part is used as a living room, and the ground floor as storeroom, cellar and other business purposes.
  121. IFUGAO BALE (NATIVE HOUSE) This type of indigenous house is sometimes referred to as “No-nail House” because it was constructed without the use of nails. It is considered to be one of the most indigenous and nearly perfect architectural constructs ever made by man. They are known as the “ARCHITECHTURAL MARVEL” of the country. “MUNHABATS” local carpenters of Banaue who built bale as part of dangah or free service. The bale evolved from primitive dwelling called “abong” which is equivalent to “house” in Pangasinan dialect. The Ifugao Bale is made from the timber of AMUWAGAN trees. It stands on 4 posts buried 50cm. underneath and the posts are only covered with stones. The thatched triangular roof shields dwellers from the tropical weather.
  122. ACTIVITY #11  Building Miniature • Each group should be assigned to construct a miniature structures of the following:  Ifugao Bale  Bahay Kubo  Bahay na Bato This activity should be a collaborative undertaking of the whole class. The miniature structure should be displayed in a secured and safe place for other students in the school to see. This class project must be documented. The assigned leader should place caption to describe the miniature.
  123. IMPROVISATION IN VARIOUS ARTS  Learning Outcomes: at the end of the lesson, the students should be able to:  Define improvisation  Utilize the body as a basic in expressing and communicating  Strengthen the student’s initiative and artistic sensibilitiesss Chapter 12
  124. MEANING OF IMPROVISATION IN ARTS Improvisation is the art of creating/composing, uttering, executing, arranging something spontaneously without previous preparation. Improvisation is an aspect of human agency that has not been studied and structure vey well. Improvisation is association with creativity to be able to add value in a fast moving situation.
  125. IMPORTANCE OF IMPROVISATION IN ARTS It enables us to cope with our everyday environment and its contingencies. Improvisation is something Filipinos value highly as an artistic achievement in arts such as music, dance, and theatre.
  126. EXAMPLES OF IMPROVISATION 1. Music – composing music in the moment as well as reproducing to other musicians. 2. Dance – reading to music, scenes and other dancers dancing. 3. Design – building something useful given limited time, resources, and other constraints. 4. Theatre – performing a play that is unscripted. 5. Problem Solving and Decision Making – unscripted real-life scenarios working or involving with what you have in the moment.
  127. BODY LANGUAGE: THE BASIC TOOL IN EXPRESION AND COMMUNICATION Body Language (or KINESIS) is a non-verbal communication in which physical behavior, instead of words, are used to express or convey information. Common physical behavior includes physical expression, body posture, gestures, handshakes, eye movement, touch and the use of space.
  128. DIFFERENCE BETWEEN BODY LANGUAGE AND SIGN LANGUAGE Body Language – is not a sign language and vice versa. On the other hand, body languages does not have a grammar and therefore the movement of the body must be interpreted broadly to get its meaning. Sign Language – are full languages, that is, they have their own complex grammar system but such cannot be spoken or uttered by the deaf persons due to their inability to hear phonetic sounds. The ability to interpret body languages depends on the individual’s intelligence, age, experience, training, and cultural influences. It was believed that majority of information are transmitted through non-verbal communication than verbal one’s during interpersonal interactions.
  129. IMPORTANCE OF BODY LANGUAGE 1. It helps to establish harmonious relations between people 2. It helps to regulate personal interaction 3. It makes communication faster 4. It adds meaning to verbal communications 5. It serves as an outlet of emotional tension
  130. PHYSICAL EXPRESSIONS OF BODY LANGUAGE 1. Facial Expressions – we are able to tell the meaning of a body language by the expression of the face as to whether a person is happy, sad, eager, or angry. 2. Body Posture – expresses some forms of communication. It can signify emotion of sadness, anxiety, fear, anger, joy, and wander. 3. Gestures – are forms of body movements using the body parts like the arms, tongue to suggest something. Gestures may either be involuntary and voluntary when we want to express something. 4. Eye Movement – this is another form of body language which signifies many meanings to many people. 5. Sense of Touch – known as haptic communication. It has the ability to convey and enhance physical intimacy. 6. Body Movement – bodily movements are difficult to determine because emotional behavior is personal and subjective.
  131. CHOREOGRAPHY It is another form of improvisation tool to express an emotion or to communicate by a sequence of movement. In choreography, the physical body is in motion, form, or both are specified. Choreography is used in music, especially, vocal duet, and chorus. In performing arts, choreography is used in any form of movement such as in dance, whether traditional or modern dances.
  132. CONTACT BODY IMPROVISATION This is a form of improvised dancing which started internationally in 1972, where disco dancing is still popular. Contact body improvisation is the use of the fundamentals of sharing weight, touch, and finding a point of contact between the bodies of the dancers. Specifically, this can be done by falling off balance, counterbalance, finding the shelves of the body, learning the mechanics of the body in order to handle someone else’s weight or be lifted using breathing techniques. • Sound Improvisation – (also known as musical improvisation or musical extemporization) refers to the “spontaneous composition or free performance of a musical passage usually in a manner conforming to certain stylistic norms but unfettered by the prescriptive features of a specific musical text”. It also means to “play or sing (music) extemporaneously by inventing variations on a melody or creating new melodies, rhythms, and harmonies but still based on chord change in classical music.”
  133. THEATRIC IMPROVISATION  This is a creative performed on stage being done by several cast of actors and actresses spontaneously acting; and at times including audience suggestions contributing to the performance content and directions. In other words, the participants themselves formulate the dialogue, setting and plot without sufficient formal rehearsals.  To be able to improvise theatre performance, the performance must possess the skills of listening and maintain awareness of what other performers are doing since this is performed outside the script or without script.  Improvisation Theatre is often performed in comedy play on stage, film, television programs. It is also used in classrooms as an educational tool or in business to develop communication, skills, creative problem-solving, and supportive teamwork, in ensemble play, and even in drama or stage play competitions.
  134. ACTIVITY #12  Class Activity • Form two (2) groups with group leaders. The instructor will assign three (3) judges who are either classmates of the groups or better still other sections in the same school. • The members of the group will demonstrate in front of the class. Each member of the group will be given 1min. Duration to demonstrate. Each member will be given 2 trials and 1 final demo. After every group has finished their demo, the results will be announced. • GROUP 1 – to demonstrate body language • GROUP 2 – to demonstrate body movement